This is where I extend my knowledge and skills within Fine Art through practical experience and research - Recording a Daily Diary
To start off the year and to recap on arts basic foundations. I looked at mark making and "What is a Drawing?" To support my development and research I visited the Tate Art Gallery in Liverpool. At the time, the gallery had an exhibition on Chagall, a Russian born French artist loved for his expressive colour with narrative elements illustrating his life. The gallery display his work as if to tell a story of his life, placing his work almost in order as well as to show and create contrast throughout his life through his work... Chagall's Review
Chagall's work showed his response to the events around him at the time such as both World Wars, travelling and deaths. Chagall used symbolism to help express his opinions and emotions towards experiences. With his illogical style he was able to allow symbolism to have a great impact towards the piece in colour and arrangement.
Colour is one area of which illustrates an response through its symbol values of emotions. I wanted to experiment with other areas of which, to record my responses starting with simple lines and shape but overall, I will be using mark making as an form of recording.
Mixed Media
Acrylic, charcoal, chalk, ink, fabric, wire, newspaper, PVA glue and graphite.
I then went on to research Leon Ferrari whose work based around his protests towards war, inequality and discrimination and was made so that they had no order turning his architectural symbols into what appears to be 'nonsense'. He felt this way towards his narratives giving them character, encouraging his work in such a way. It was his study of exploring the connections between word and line, that encouraged him to represent words as lines, influencing me to see words as a line and therefore widening my artistic interpretations to see lines as words - encouraging the idea of visual language and the idea that my lines/marks/responses our my own language to myself.
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Pushing my compositions further, I wanted to create stronger contrasts of light and dark like my previous prints and develop further depth. To do that l experimented with layering techniques to create a variation of tonal values and impressions of layers encouraging that depth.
I worked with an A0 sheet of paper using a range of charcoals and chalk. Started with three medians and so three tones, I blended them to create wider range as well as rubbing to media away with a putty rubber to create more.
During this process I felt more relaxed and excited about the unpredictable marks soon to be made. I repeated the technique a few times, layering the marks and found some of the areas had the objects repeatedly dropped on them whilst others not at all, creating an contract between the strip.
Continue the strips, I decided to involve my text response from life class. I wanted to use the same dropping technique onto it but firstly changing my text's structure using the cut up technique to influence this nondredotiaban approach.
I cut up an photocopied pieces of the response, completely separating words or parts of the sentences and collect the pieces altogether. At random I choose two piece and with them made an sentence or phrase. Two examples are in the image below.
Working back in print, I development some more compositions using scrap paper to block areas of the print to add depth within the layers. In doing so, I favoured these scrap paper as prints were transferred on to them and developed an idea for me to rearrange my compositions by ripping them and moving them about to add more interest and depth.
The artists involved within the exhibition our Charlotte Stockley, Adam Thomas, Bex Duffy, Georgia Smallshaw and Calum R
September - December
Response - Mark Making
September 9th - 13th
September 9th - 13th
Chagall's work showed his response to the events around him at the time such as both World Wars, travelling and deaths. Chagall used symbolism to help express his opinions and emotions towards experiences. With his illogical style he was able to allow symbolism to have a great impact towards the piece in colour and arrangement.
Colour is one area of which illustrates an response through its symbol values of emotions. I wanted to experiment with other areas of which, to record my responses starting with simple lines and shape but overall, I will be using mark making as an form of recording.
For my first influence I looked at recording my own responses my body makes, using simple pencil and paper.The exercises was more of an response to how we interpret sounds visually, avoiding imagery of frequency spectrum but my own visual response to sound. Here are two compositions I developed from the movement and sound of myself - my heartbeat, breathing, leg and arm movement such as walking and lifting. Both of these imagery are my responses whist walking in an circle; the first one having pauses during the fast walk and the second an continuous steady walk.
At first I felt unresponsive to my own responses and I made a mistake, but of course you can't plan your own responses and seemed mostly like I just didn't except it. It was with that of unexpected, that interested me and the fact I had common recurrences recorded in my work to experiment with other influences to response to.
I moved on onto working with my visual mind and creating response based on current images acre in my mind. The amazing thing about the mind is that it never stay still in a sense and images constantly flow.... Mind and Illusion
To practice this recording of my visual images, I placed 6 A1 sheets of paper next to one another landscape, preparing myself for a large movement piece using only graphite to start of with. I remained to think of my heartbeat but as a form, picturing its shape but then moving around the body creating this sense of flow. The response included the womb which made the images 'jump', picturing birth and then collecting imagines I associated with it; egg cells I responded with circles and cords with different thickness of line.
I then went in with mixed media to experiment and encourage my response to what I then saw in the composition also become familiar with the formal elements on my piece.
Moving on from the development compositions I took a viewfinder - selected a certain area of the composition and created it at a larger scale to experiment with mixed media and become even more familiar with the elements of my responses. "As an impulse, I found myself creating continuous circular shapes layered on one another and then expressive line followed by move circular shapes."
Mixed Media
Acrylic, charcoal, chalk, ink, fabric, wire, newspaper, PVA glue and graphite.
Artist Research...
Already having an understanding of mark making, I began researching artists who also create marks to express their responses .In doing this, I wanted to develop a wider opinion of what I saw as a drawing exploring far away from impressions but continuing the idea of creating ones experiences using marks.
One of the artists I looked at was John Cage, an american composer, music theorist, writer, and artist; who reincorporated his music into visual art - audio language to a visual using drawings. His work consisted of 'scribbles', straight lines and circle shapes, which was his response to his own music - similar to how my style of responses first started.
One of the artists I looked at was John Cage, an american composer, music theorist, writer, and artist; who reincorporated his music into visual art - audio language to a visual using drawings. His work consisted of 'scribbles', straight lines and circle shapes, which was his response to his own music - similar to how my style of responses first started. I then went on to research Leon Ferrari whose work based around his protests towards war, inequality and discrimination and was made so that they had no order turning his architectural symbols into what appears to be 'nonsense'. He felt this way towards his narratives giving them character, encouraging his work in such a way. It was his study of exploring the connections between word and line, that encouraged him to represent words as lines, influencing me to see words as a line and therefore widening my artistic interpretations to see lines as words - encouraging the idea of visual language and the idea that my lines/marks/responses our my own language to myself.
September 16th - 20th
In the second week I wanted to sum up and analyse the appearances of my recordings, again become familiar with my formal elements and use these compositions as an foundation to experiment with different mark making techniques.
Using graphite as my marking tool on paper, I development new compositions from the originals to create the impression of layers with the use of tone. I wanted to empathize the idea of movement because of the significance it had influencing my response and will hopefully achieve this through layers in future compositions.
Here are two development compositions with the use of sensitive, quick and sketchy lines.
Emerging the compositions, I took another viewfinder and selected a certain area of the composition above to now experiment with tone.
At the same time I was selective with my chose to media as I didn't want to be use media which would draw you away from the very formal elements I felt drawn to. I want to practice drawing attention to my line before blending other techniques with them.
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From developing these compositions I found it hard to favor ever direction of the simplicity of line and shape or the more complex composition with its illustration of depth. What I will be pushing is the use to line in forms of thickness, expressive, sensitive and tone.
September 23rd - 27th
Unable to chose what elements I liked best, I chose to experiment more. I did however, have this idea of creating movement within my compositions, I looked at becoming more expressive when applying the media and layering the paper to empathize this idea of multiple sounds and images. To be more expressive I chose media that applied easy and have more control over but also media which allowed me to layer other and work back in to.
Acrylic, charcoal and Chalk (2 x A1)
Artist Research...
Exploring more medians, I started to work with print were I found interest in print artists Stanley William Hayter and Mauricio Lasansky for their use of tonal work in their etching. Both artist create great depth through tonal values; Lasansky in my opinion has stronger contrasts between light and dark with his use of 'pure white' against black, Whist Hayter varies his use of tones, still remaining to have tone from opposite prospectus but not as dominating or dramatic. However, both artist are influenced by figures and portray them abstractly but still clearly illustrating their narrative elements. Viewing Lasansky's prints, they are mostly complex which makes you look deeper and focus your eyes onto different areas before having a summary of your response to the piece. It is through this process he as achieved moment , an art its self between the piece and the viewer I am inspired by.
From admiring both artist, it made sense for me also to practice their techniques and develop my style within print . Although they practiced etching, I wanted to start with mono-prints for its simplest techniques of mark making and from there, encourage layering techniques.
My favor print ( bottom right) consumed a strong contrast of light and dark which empathized its layers.
During the process, I found it hard to produce such a strong contrast of tones from just the usage of ink and eventually decided to use college paper to stop some areas of the print to be printed on - throughout each layer of the print. This technique created a variation of tones on both the print and the collage paper. The collage was first aimed to use as a tool but its outcomes interested me and I turned my ideas onto transferring the print on the college onto future prints - This create my favor print. The prints from the collage were lighter then them, creating lighter tones which I aimed to achieve.
Later on that day, I wanted to get involved in life class to develop more variations of response beside sound. I decide to response by drawing elements that interest me or at random within the figure, only at first focusing of shapes and line. My visual response wasn't an precis representation of the figure but more abstract as i played with my composition - I chose an element such as the figures shape of arm and randomly drew it on the paper, laying over previous drawings.
One delight I found in involving life drawings in my work was the fact that I was encouraging human elements and so linking it back to the start of my process and the involvement of the human bodies own responses, such as an heartbeat.
September 30th - October 4th
I worked with an A0 sheet of paper using a range of charcoals and chalk. Started with three medians and so three tones, I blended them to create wider range as well as rubbing to media away with a putty rubber to create more.
Repeating mono-printing and layering techniques, I moved on the experiment with chronograph prints and create my own chronograph plate using a think card as the plate and layered it with 'No nails' which once dry creates an plaster substance that can be worked into (after its dry and in the drying process). Experimenting with chronograph, I wanted to experiment with a little bit of colour, inspired Stanley William Hayter work. I chose to only one blue hue first as one layer to see the outcome. I found success i the print...
The last step was layering with an mono-print to create thinner and more expressive lines which I did in my previous prints, complimenting my praitse to add strong attention to my lines.
October 7th - 11th
Artist Research...
Developing my compositions, I found my work quite constant and was advised I needed to break out of this route of forcing on compositions and just play with mark making, thinking less of its appearance. To practice this idea of having less control of my work and not be able to predetermine my work, I researched methods and discovered William Burroughs and his cut up techniques...
Even though his techniques were compelling, I found myself unable to experiment straight away because of my artistic instinct to control my work, so I research more into artists responds. In doing so, I discovered Fiona Banner an British artist who work with text as an response. Within the right image below, she is using text to record the life class model, writing down what she sees.
Interested, I wondered want possibly could be my response with text, I got involved in life class to practiced Fiona Banner technique. I first started from the top of the model and work my way down so I could focus to detail - looking at particular shapes, tones, lines, lightness, form and record them. Still thinking about Williams technique of being spontaneous, I randomly changed the way I recorded a word making it more bold or darker which I found drawn to.
This image is just a section of what I record after I worked back into it, removing words or crossing them out.
October 14th - 18th
After researching into Burroughs 'Cut up' technique, I went on to practice the technique (still remaining to use elements from my previous responses as an influence) by collecting random items I could find that interested me such as cotton and a palette. I also used card I ripped up with shapes taken from my original responses. Once ready, I placed a long strip of paper on the floor and randomly dropped the objects onto it. To recorded this marks I then drew around them with a pencil and fine-liner.
Continue the strips, I decided to involve my text response from life class. I wanted to use the same dropping technique onto it but firstly changing my text's structure using the cut up technique to influence this nondredotiaban approach.
I cut up an photocopied pieces of the response, completely separating words or parts of the sentences and collect the pieces altogether. At random I choose two piece and with them made an sentence or phrase. Two examples are in the image below.
I created a series of these and rewrote them in different sizes and boldness, on an small rectangular strip.
I did this so they could be used the same way as the random objects I collect and drop them on to the strip.
Career Research...
Later on that day, I had made an appointment to see a woman called Jill, an mental heath officer who has an artistic background who could hopefully give me some advise for my career pathway in her area of exasperates. Currently, I wish to be an Art Therapy working with people who have an mental heath issues such as depression and use art as an form of healing. Jill went a simpler way and now works with people in mental health but unfortunately not with art.
We discussed how she too wanted to work in Art Therapy but was unable to progress onto that form of education because of her current art work not being relevant at the time, giving me advise to push my work more to the psychological side of art. This will hopeful make me edge able to progress on to an MA Art Therapy course in the future.
Working back in print, I development some more compositions using scrap paper to block areas of the print to add depth within the layers. In doing so, I favoured these scrap paper as prints were transferred on to them and developed an idea for me to rearrange my compositions by ripping them and moving them about to add more interest and depth.
Working back into my strip, I started to block it's shapes using a variation of monochromes working with contrast of light and dark to add interest to its composition. At the same time I remained to be inspired by the look of the collage prints and decided to involve them into the strips. I collected all my current colleograph prints and randomly ripped them up and using the same drop technique on to the strip - gluing them down and on-going the technique, layering over.
October 21st - 25th
I moved onto create another strip, this time adding colour, starting with different hues of Blue and green as I wanted to keep the simplicity which acceded within the tone piece. During the practice I was advised to once again to step out of my 'comfort zone' and expand with colours I didn't usually use. to help me with this, I randomly placed every primary and secondly colours onto an palette and chose at random or closed my eyes and place my brush onto an area on the palette, choosing the colour.
The hues were mainly influenced with darker tones which encourage an strong contrast of light and dark, due to the canvas being the lightest. I found this very inspiring as I produced it with almost no control and still successful. Influenced, I began to create another strip increasing its scale. I wanted to do this to create a sense of an continuous progress and limitless to encourage my idea of chance being immeasurable to the possibilities which heavily influences my work. It achieve this I chose to have to strip rolled up at the bottom to create the idea of it continuing within the roll, the viewer not knowing when it ended.
Starting the strip, I felt the need to encourage the idea of questioning taste because of my need to want to predetermine my work and use the colours I liked or favoured. To change this, I chose to use colours I found distaste in, hues such as yellow green because of my association to it linking with disease.
November 4th - 8th
At the start of the week, Visitors came from tfgm (transport for Greater Manchester) proposing an opportunities for me to get involved in producing pubic art within an Guided Bus-way they are currently constructing. The art is not confined to its appearance and inspirations but only the space it will be presented and cost for its production. All these details have not be confirmed
yet and so future meeting will take place. I will be using this opportunity as my next project.
yet and so future meeting will take place. I will be using this opportunity as my next project.
For the long strip, I needed to create more prints to combined them and chose within the process to experiment more with different techniques for colleograph prints. I looked at technique which could create an interesting composition of its before layering with the print so experimenting onto the paper. In the process I didn't think much into applying the inks but just being 'free' with the media and techniques.
I favoured this print for its complex and expressive composition with its strong dramatic contrast
of light, vibrant and dark tones. Once the prints were dry, I repeated the techniques of ripping them up, dropping them on to the strip and layering over them.
Career Research...
On Thursday, I started tutoring individual students studying BTEC level 3 Art & Design, (a course I previously studied) who wish to specialise in Fine Art. By doing this I will be able to develop my teaching and communication skills which I feel will be necessary for my future employment. I started the tutoring by first getting to know their styles and introduced them to my work and achievements within my development.
November 11th - 15th
Building onto my professional practise, my colleges and I proposed to the head of Art for us to conduct an art exhibition. This experience will help us to develop are independences and professional skills in the Art industry- publication. The exhibition will be held in a public area and so we had to consider the health and safely of all individuals. As a degree students we were trusted to conduct the exhibitionist independently and we decided to place the event on opening evening - 18th November 2013. This decision was finalised to help the publicity of are work and the achievements which can be accomplished at Wigan and Leigh college.
Once the proposal was made, I began collecting my work together and chose which ones I would like to expatiate I realised then I wanted to create another strip but even longer so that I could communicate more clearly my response and messages. The strip was to be double the previous and roll from the wall on to the floor and across. I will be using the same colour scheme as before and techniques.
By Wednesday, we had permission and started to clear the spare and prepare the following tasks including risk assessments. With all the artists involvements and inputs we were able to decide which works from us all, there going to be on show - giving constructive criticism and praise. Once decided, we started to plan the layout and started to mount some up. Here are some images of the process.
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